![]() ![]() Her beginnings are similar to those of Comme des Garçons designer Rei Kawakubo, who created her own avant-garde revolution as a self-taught fashion designer. ![]() She had previously worked as a fashion editor as a photographer, she was self-taught and projected a distinctly solemn taste in her art. She enjoyed altering her film, making scratches and tears to give the images a faded, mystical look that set her aesthetic apart from bright, clean-cut fashion spreads of the time. Turbeville’s haunting photographs were often printed in black and white or sepia. In Comme des Gar ç ons images, models wear veils, loose-fitting button-downs, and tulle skirts in exaggerated shapes that the brand is known for. Titled “ Deborah Turbeville, 1977–1981,” the gallery show features three series of photos: Comme des Garçons, Women in the Woods, and The Glass House. Opening May 4 in conjunction with the Metropolitan Museum’s Comme des Garçons retrospective, a new exhibition at the Staley-Wise Gallery in Soho revisits photos of Comme des Garçons clothing by the late fashion photographer Deborah Turbeville. Photo: Deborah Turbeville/ Courtesy Staley-Wise Gallery Women in the Woods, Vogue Italia, Montova, Italy, 1977. ![]()
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